"Messa di Gloria, Op.posth., Gloria: Gratias agimus tibi" by Giacomo Puccini, Roberto Alagna, Antonio Pappano, London Symphony Orchestra was released on 2001. With this song being around four minutes long, at 3:35, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. There are a total of 18 in the song's album "Puccini: Messa di Gloria". In this album, this song's track order is #4. Messa di Gloria, Op.posth., Gloria: Gratias agimus tibi is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
With Messa di Gloria, Op.posth., Gloria: Gratias agimus tibi by Giacomo Puccini, Roberto Alagna, Antonio Pappano, London Symphony Orchestra having a テンポ of 77 with a half-time of 38 テンポ and a double-time of 154 テンポ, we would consider this track to have a Andante (at a walking pace) tempo marking. Because of this, we believe that the song has an overall slow tempo. The time signature for this track is 1/4.
This song is in the music key of D♭ Major. Or for those who are familiar with the camelot wheel, this song has a camelot key of 3B. So, the perfect camelot match for 3B would be either 3B or 4A. While, 4B can give you a low energy boost. For moderate energy boost, you would use 12B and a high energy boost can either be 5B or 10B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 3A or 2B will give you a low energy drop, 6B would be a moderate one, and 1B or 8B would be a high energy drop. Lastly, 12A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Madama Butterfly / Act I: Bimba dagli occhi pieni di malia | Giacomo Puccini, Mirella Freni, José Carreras, Philharmonia Orchestra, Giuseppe Sinopoli | F Major | 2 | 7B | 82 BPM | ||
Vesperae solennes de confessore in C, K.339: 2. Confitebor tibi, Domine | Wolfgang Amadeus Mozart, Kiri Te Kanawa, Elizabeth Bainbridge, Ryland Davies, Gwynne Howell, John Constable, London Symphony Chorus, London Symphony Orchestra, Sir Colin Davis | F Major | 2 | 7B | 98 BPM | ||
Adriana Lecouvreur / Act 1: "La dolcissima effigie" | Francesco Cilea, Jonas Kaufmann, Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano | A♭ Major | 2 | 4B | 79 BPM | ||
Pagliacci / Act I: "Qual fiamma avea nel guardo! ... Stridono lassù" | Ruggero Leoncavallo, Anna Netrebko, Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano | A Major | 1 | 11B | 78 BPM | ||
Mozart: Die Zauberflöte, K. 620, Act 2: "O Isis und Osiris" (Sarastro, Chorus) | Wolfgang Amadeus Mozart, Bernard Haitink, Roland Bracht, Bavarian Radio Symphony Orchestra | C Major | 0 | 8B | 98 BPM | ||
Madama Butterfly (1986 - Remaster), Act I: Viene la sera (Pinkerton/Butterfly/Suzuki) | Giacomo Puccini, Renata Scotto, Anna Di Stasio, Carlo Bergonzi, Renata Scotto, Carlo Bergonzi, Orchestra del Teatro dell’Opera di Roma & Sir John Barbirolli, Sir John Barbirolli, Orchestra Del Teatro Dell'Opera Di Roma | E♭ Major | 0 | 5B | 117 BPM | ||
4 Letzte Lieder, TrV 296: No. 2, September | Richard Strauss, Kiri Te Kanawa, Andrew Davis, London Symphony Orchestra | D Major | 2 | 10B | 95 BPM | ||
Rossini: Il Barbiere di Siviglia, Act 1: "Una voce poco fà" (Rosina) | Gioachino Rossini, Beverly Sills, Nicolai Gedda, Sherrill Milnes, Renato Capecchi, Ruggero Raimondi, Michael Rippon, John Alldis Choir, Joseph Galiano, London Symphony Orchestra, James Levine, Fedora Barbieri, John Constable | F Major | 2 | 7B | 133 BPM | ||
Carmen, WD 31: Entracte (Between Act II & III) | Georges Bizet, London Symphony Orchestra, Claudio Abbado | C Major | 0 | 8B | 115 BPM | ||
La Cenerentola / Act 2: "Sia qualunque delle figlie" | Gioachino Rossini, Paolo Montarsolo, London Symphony Orchestra, Claudio Abbado | A Major | 4 | 11B | 113 BPM |